TTLV: Gender Issues in Contemporary Vietnamese Cinema (through "Moon at the Bottom of the Well," "Endless Fields," and "Bi, Don't Be Afraid")

INFORMATION ABOUT THE MASTER'S THESIS

1. Student's full name: Le Thi Tuan 2. Gender: Female

3. Date of birth: May 25, 1990

4. Place of birth: Trieu Dong, Tan Minh, Thuong Tin, Hanoi.

5. Decision on student admission No. 1503/2012 dated August 5, 2012, by the Rector of the University of Social Sciences and Humanities, Vietnam National University, Hanoi.

6. Changes in the training process: None

7. Thesis title: Gender Issues in Contemporary Vietnamese Cinema (throughThe moon at the bottom of the well, The endless fieldandBi, don't be afraid.)

8. Major: Literary Theory; Code: 60 22 01 20

9. Scientific supervisor: Assoc. Prof. Dr. Ly Hoai Thu, lecturer at the Faculty of Literature, University of Social Sciences and Humanities, Vietnam National University, Hanoi.

10. Summary of the thesis results:

Firstly, the thesis identifies and systematizes the concept of gender in literature and film; the movement and development of gender consciousness in socio-cultural life; and the role of gender-based approaches in contemporary Vietnamese cinema.

Secondly, applying a gender-based approach to three films.The moon at the bottom of the well, The endless fieldandBi, don't be afraid.This study points out the manifestations of gender consciousness in terms of aesthetic imagery (characters, symbolic systems, space-time) and discourse (dialogue, narrative point of view, and actors' performances). From this, it shows that the increasing levels of gender expression in the three films are due to the cultural context and time-space in which the films are depicted. This reveals, to some extent, the characteristic personalities of women in each region (Hue - Ca Mau - Hanoi). Simultaneously, through the way the "source text" is treated, it reveals the shift in the director's perspective on gender compared to the writer, thus revealing the style of each director.

Thirdly, through the analysis of specific cinematic language such as staging (setting, lighting, costumes), cinematography, editing, and sound, we can see the manifestations of gender consciousness in the film. This is the concretization of interpretations using the language of the film itself, affirming the scientific, accurate, and objective nature of the topic.

In summary, this thesis presents a new approach – a gender-based approach to cinema – offering a realistic perspective on a characteristic of contemporary cinema, affirming the sensitivity and flexibility of cinematic art in deeply engaging with human life and consciousness, and contributing to the development and shaping of Vietnamese cinema in particular, and expressing the spirit of the times, culture, and society in general.

11. Practical applications: This thesis serves as a resource for students researching literature and film, and interdisciplinary subjects such as gender studies in sociology, psychology, etc.

12. Further research directions: Gender issues and feminist nuances in contemporary Asian cinema.

13. Published works related to the thesis: None

INFORMATION ON MASTER'S THESIS

1. Full name: Lê Thị Tuân 2. Sex: Female

3. Date of birth: May 25, 1990 4. Place of birth: Hanoi

5. Admission decision number: 1503/2012 Dated: August 5, 2012

6. Changes in academic process: None

(List the forms of change and corresponding times)

7. Official thesis title: Gender issues in contemporary cinema Vietnam (over Moon at the bottom of the well, Acres of endless and Bi, do not be afraid)

8. Major: Literary Theory 9. Code: 60 22 01 20

10. Supervisors: Assoc. Prof. Dr. Ly Hoai Thu

(Full name, academic title and degree)

11. Summary of the findings of the thesis:

First, the thesis identifies and codified the concept of gender in literature and cinema; movement and the development of gender consciousness in social and cultural life; approaching the role of gender in contemporary cinema Vietnam.

Second, the application approach sex in three films Moon at the bottom of wells, Field endless and Bi, do not be afraid, just the manifestation of gender consciousness in terms of aesthetic images (characters, symbol system, space - time) and discourse (dialogue, narrative point of view of actors and acting). Since then, points to the increasing sexual levels of expressed in three films is due to the context of time and space that the film cultural expression. Thereby, partially visible personality characteristics of women in each of the regions (Hue - Mau - Hanoi). At the same time, through behavior with "source text" will see a shift in the gender perspectives of the director than a writer, which shows the style of each director.

Third, through analysis of specific film language such as staging (set, lighting, costumes), filming, editing and sound visible manifestations of gender consciousness in the film. It is the concretization of the opinion expressed in the language of cinema; science confirms the accuracy and objectivity of the research.

In a nutshell, the thesis demonstrates a new approach - approach sex in cinema, bringing an honest view of the characteristics of contemporary cinema, confirming acumen, flexibility of Technology cinematography in the entrenched into the life and mind of human nature, while also contributing sketches, shape cinema in particular and expressing the spirit of the times, the culture, the society said Vietnam in general.

12. Practical applicability, if any: The thesis documents research in student of literature and cinema, and interdisciplinary subjects such as surveying gender in sociology, psychology.

13. Further research directions, if any: Gender issues and nuances of feminism in contemporary Asian cinema.

14. Thesis-related publications: None